In New York, I'm playing in a church, solo, doing instrumental stuff. There's talk of doing more, like, installation-type things with some of the specimen horns I've played through. Just filling a room in a museum with these horn-speaker sculptures and then making loops that run all day, and you walk around the room and sort of mix the sound by where you stand. That's all way in the future, but that kind of stuff is a different way of thinking about performing.

I've always found that whatever you say about indie rock, it is the most inclusive genre or title for anything. It doesn't pin you down too much, like other labels would. It's just newer, it has less baggage.

You can build up expectations for a song before you record it, and then it's like nothing's good enough in the studio.

I'm coming from a place that's more experimental and indulgent already, so for the last 10 years, it's been more like, "How can I defend my own sensibilities by writing a nugget of a little catchy pop song?" That's how I'm stretching myself, by writing something really simple.

My favorite literature to read is fairly dry history. I like the framework, and my imagination can do the rest.

Sometimes I just think we're not meant to fly halfway around the world in a day. That some kind of mutation is going to happen.

I think when I was pretty young I got really into the tone of my instrument and I remember just playing one note for an hour to just kind of feel the resonance of the violin.